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The goal of this project is to answer the question: how did people during the Renaissance view and wonder about gender and sexuality?

Wonder can mean a lot of different things in relation to this time period. The route that will be explored in this study is how people viewed female artists and different sexualities as a "wonder" because it was out of the "norm". The normal standard of artists was to be a straight, white male.  This is the narrative that is constantly reinforced even today through tellings and studying of Renaissance art. We will work to rethink and include art and artists that showcase different genders and sexualities and look at how they may have been viewed.

By analyzing artworks from the 16th century Renaissance through a purely modern lens we are able to uncover a deeper view and consider the ways in which people and society functioned during this time. We look at gender roles, specifically the male and female perspectives, alongside sexuality as a whole to see how at times they were broken or reinforced through art. This is done by studying meaningful clues that help us discover more about these topics and develop complete stories revolving around the wonder behind each piece. We will go in depth into how each gender was viewed by both the creator and the viewer, as well as how sexuality could be viewed during the Renaissance. We are doing this to better understand the hidden meaning behind each artwork and the wonder behind them. Specific elements in the art such as composition, color, attire, and symbolism allow for us to reach a better understanding of the complete story each artist was trying to develop.

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Portrait of a Man, possibly Girolamo (c. 1480-1556)

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Portrait of a Man, possibly Girolamo (c. 1480-1556)

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Lorenzo, Lotto
oil on canvas
Italian, 16th century
108.2 x 100.5cm (unframed)

Lorenzo Lotto’s Portrait of a Man, possibly Girolamo Rosati painting brings to life the wonder of the male perspective during the 16th century portion of the Renaissance. Discussing how the male was portrayed and perceived by both the artists and viewers allows for a strong contrast and conversation to develop when researched beside both the female perspective and view on sexuality as a whole during this era. Similarly, to how the female perspective and sexuality was brought to life at this time, Lotto rendered specific elements in this piece to create a definition of the male perspective that suited his time. At this point of the Renaissance males took the dominant role in society, in turn being allowed more privileges and rights than females. The social construct of masculinity allowed them to have access to a greater education which gave them more opportunity to powerful positions and status in society. Lotto hints at this idea by including the paper and tools on the table, features that were not usually incorporated into female portraits at this time. Another element that addresses the male superiority during the 16th century was what he chose to depict (possibly) Girolamo Rosati wearing. His elegant attire is made complete with a sword. Another feature that might be easily looked past/hidden under his cloak but proves his underlying power. Lastly, his mysterious pointing pose and stern facial expression leave us to wonder who he might have been directing or addressing and exactly how much and what kind of power he held.

-Emily Dubinsky

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The Marriage of Alexander and Roxanne (c. 1518)

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The Marriage of Alexander and Roxanne (c. 1518)

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Villa Farnesina, Rome

Fresco painting by Sodoma the Second

Commissioned for Agostino Chigi's state bedroom in 1518 to 1519

The Renaissance period is commonly described as a period of rebirth of classical literature and arts, and the push for individuality. Naturally within an era rooted in individuality one could expect to find accounts of nonheteronormative sexuality. Since not all people of the times were literate enough to write their own accounts, a better understanding of the times comes from the famous Renaissance art. Artist Giovanni Antonio Bazzi, also known as Il Sodoma, painted many works in his life that offered the viewers glimpses into sexuality during the Renaissance. One of his works that will be examined in this text is the fresco Marriage of Roxana and Alexander the Great.

When looking at a piece of Renaissance art it is important to consider all aspects of the piece. Things that can be examined are who commissioned the piece and for what purpose. Some art was highly visible and some was not, which plays a huge role in the meaning. In this case the painting was commissioned for Agostino Chigi’s state bedroom, so it was likely not as visible during his lifetime. It is also important to look at the artist himself and what his views were on certain matters. Giovanni Antonio Bazzi’s nickname, Il Sodoma, comes from the biblical city of Sodom, a city that represents homosexuality and sin in the stories of the bible. His other works included angrogounous people (St. Sebastian c. 1525) and other themes of sexulaity. The work Marriage of Roxana and Alexander the Great paints a similar picture. In this image we can not only consider the relationship between Alexander and Roxana, but that of Alexander and Hephaestion, Alexander’s best man and presumed lover.

Lastly, when looking at this work it will be important to note that one should not look at it only through a “modern” lens. Homosexuality during this time was quite different than it is today. While it still was frequent, it is shown in art in deeper knowledge of the subjects being painted and in subtle ways such as the placement of a hand or the closeness of a friend.

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1518, Raphael. Oil on wood, 33 x 24 in. Italian Renaissance

By discussing the male and female perspective and sexuality as depicted in the art of the 16th century we can see how people of the Renaissance perceived gender and sexuality. This image helps show how women were perceived in the Renaissance. Raphael shows a half-naked woman holding her left breast while gazing at the viewer. This gaze was seen as inviting to many people that viewed this piece. This inviting gaze caused many men to believe that women were purely creatures of seduction. They thought that women were sent by the devil to tempt them into sinning and thus forth sending them to hell. That is why many Renaissance paintings that depict women show them nude or partially nude while looking at the viewer. The image also shows her covering her genitalia with her right hand which shows how women were expected to be classy. The woman in the image is thought to be Raphael's mistress while he was engaged to the cardinal's daughter. Outside of art, actual women of the Renaissance were considered bound to their husbands and were expected to act as typical housewives, this may be why they were never portrayed in other ways other than seductive or submissive, by male artists, because that is what they expected of them. By wondering why male artists portrayed woman these ways we can better understand women's role in society and art.

-Isabella Tartoni